Introduction

     Welcome to my gallery and thank you for coming. You are cordially invited to immerse yourself in my work, and luxuriate in a blissful adventure of kaleidoscopic exploration. I hope it provides you with many hours of enjoyable entertainment, some lasting inspiration and the joyful discovery of some evocative images you’d like to have, to adorn the walls in rooms of your home.

   This Introduction was hastily composed, in a state of exhaustion, as a rough-draft, in no particular order, written in stream-of-consciousness manner, as the thoughts occurred to me. Due to the way it originated, and until I'm able to rewrite it, I've temporarily emphasized some of the more important passages in bold-face type — including the ones relating to my aesthetic philosophy and my method; and, especially, the ones regarding important new additions to the gallery. The passages in bold-face Green type are especially timely or otherwise important.

     I encounter beauty everywhere I go. I’m usually inspired by it and frequently compelled to portray it, photographically, in a way that adds some dramatic impact to one’s initial impression of what I saw and the way that I perceived it. Aside from the criterion of beauty, I’m often drawn to photographing objects, people and situations based upon how unusual or otherwise interesting they are. Although I no longer go looking for subjects to photograph, they continue to present themselves to me — often seemingly begging my interpretation of them. I usually find those serendipitous photo opportunities to be irresistible; and they predictably often lead to other discoveries at the same location. On some of those occasions, I wonder if I’ll ever get to my intended destination! 

     The exhibit is a presentation of 5,558 of my compositions, including the 839 images initially comprising the Miscellaneous groups 25, 26, 27 and 28, at the bottom of the main page, which were added most recently.  Subjects represented by the new additions include Sedona, street performers, sculpture, restaurants, New York City, waterfalls, intriguing lamps and decorative ceilings, architecture, stained glass, Santa Fe, trees, exotic cars, hotels, whimsical millinery and women’s shoes, Burning Man and flowers, as well as images which will comprise a soon-to-be-created gallery, entitled Companion Pieces. Incidentally, images are constantly being moved from all of the Miscellaneous groups, to their respective individual galleries, on an almost-daily basis. For example, all the scenes of the almost unbearably intense emotional ambience of the Temple of Forgiveness at Burning Man have already been moved to their own Burning Man sub-gallery. Burning Man, by the way, is literally the experience of a lifetime, for anyone.

   Although the gallery will always be a work-in-progress, its content will never be anything even approaching a catalogue raisonné of my work. It will continue to be supplemented, almost daily, with additional pictures; and has already been acknowledged as being the largest, most interesting and widely diversified selection of compelling photographic images by an individual artist, to be found anywhere.

    I’m currently preparing a significant collection of dazzling images — some of my best work — to be included for display, very soon. Meanwhile, on August 29th, I added more than 200 intriguing new images to the gallery — comprising the newly created Misc 28 group, located at the lower-left corner of the main Galleries page. I encourage you, after reading this Introduction, to begin by exploring the Misc 28 gallery. Some of its highlights include the supersonic Concorde, as well as its cockpit, dramatic views of the U.S. Navy Blue Angels aerobatic demonstrations at the Sun 'n Fun International Fly-In, the iconic Prometheus sculpture and spectacular examples from the Fabergé egg display at Rockefeller Plaza, the control bridge of the aircraft carrier, Intrepid, the entrance to Jazz at Lincoln Center, Michelangelo's statue of David, the "Red Baron" biplane, interior views of the Growler guided-missile submarine, the superyachts Cakewalk and Aquarius, Napa Valley wineries and vineyards, the Empire State Building Observatory entrance, the (1871) Central Park Carousel, a tattered Stars and Stripes, the world’s tallest ferris wheel, exquisite art deco masterpieces in Rockefeller Center, the astonishingly beautiful glass sculptures of Dale Chihuly and many images throughout Mesa Verde — the preserved remains of the cliff-dwelling communities, which were occupied by the Anasazi, from 7,500 B.C. until being abandoned, in about 1285 A.D.

   Among the contents to be added, soon, are the 9/11 Memorial and the new One World Trade Center building, the Barrett-Jackson Collector Car Auction at Scottsdale, the 94th annual Santa Fe Indian Market, lavish corporate jet interiors, hidden beauties of Las Vegas, more vineyards and wineries of Napa Valley, the world’s tallest ferris wheel, highlights of the important sites in Washington, D.C., including the Smithsonian Institution, National Museum of the American Indian, Library of Congress and the National Air and Space Museum; Mardi Gras and the intriguing French Quarter of New Orleans, including Nicolas Cage’s triangular tomb in St. Louis Cemetery No. 1, as well as the nearby one of legendary Creole voodoo priestess, Marie Laveau, the countless charms of Savannah and Charleston and the many glories of Yosemite.

   This Introduction will, likewise, be frequently revised and expanded, to reflect changes in the gallery; and was substantially augmented with additional comments, for the forty-second time, on August 30th. Prior to that, it was revised to provide for the addition of more than three hundred new images, temporarily comprising Misc groups 23 and 24. Featured among them are studies of one of America’s most iconic buildings, scenes of New York City and seductive Sedona, ornate ceilings, decorative lamps, exotic cars and Chaco Canyon, the Mother Colony of American civilization. A thousand years ago, all roads led to Chaco Canyon, which was known by the Anasazi as Center Place.

   The Exotic Women and Bodyscapes galleries are currently being revised; and the Bestsellers gallery will soon be updated. A new sub-gallery devoted to staircases has been created within the Portals gallery and includes examples ranging from the Metropolitan Opera House, One World Financial Center, the dazzling Wintergarden, SoHo, the Cloisters, the Guggenheim Museum and the St. Regis, Michelangelo and Palace hotels, to Chinatown, Antelope Canyon, Acoma Pueblo and Big Sur America’s most majestic and magical community.    

     This third-generation version of the site includes an innovative new image-enlarging feature. Each of the individual images should be enlarged for viewing, in order to fully reveal and experience the richness of its detail. In order for the new image-enlarging feature to work properly, a few seconds sometimes must be allowed for all of the content to entirely load on a selected page before clicking on an image to enlarge it. Once having enlarged an image, you can either close it and return to its page or use the subtle arrows near the upper corners of the image to advance to the next one or view the one in the sequence before it. For best results, the window of the website should be maximized for viewing full-screen.

   Although the feature is not yet available, the gallery will be enabled to automatically process orders for the images. Meanwhile, orders can be placed the “old-fashioned” way. Please send inquiries and requests using the e-mail address accessible at the Ordering tab.

     A new Bestsellers gallery has been added, comprised of the images which have generated the most requests; and represents only about 5% of the images currently on display. Nevertheless, a complete review of the Bestsellers gallery will provide a representative sampling of the depth and breadth of the variety of images presented throughout the rest of the site which, altogether, tends to form somewhat of a tapestry of social commentary. The previously added Misc. groups 19, 20, 21 and 22 represented the largest and best addition of images that had been added at one time and contain probably the most interesting and broadly varied range of topics and moods represented in any single group added, to date.

     The usual wide spectrum of subjects in the aforementioned four miscellaneous groups includes scenes of Chinatown, Rockefeller Center, with its Prometheus and Atlas sculptures, and the World Trade Center Memorial with the Eternal Flame, as well as other venues in New York City; the Grand Canyon, women’s accoutrement, Sedona, additional sculpture and mosaics, Big Sur, the American Indian, including the cliff-dwellings at Betatakin and Montezuma Castle, as well as the archaeological excavation project at Elden Pueblo; intriguing artifacts and objets d’art, various night scenes, architecture, aviation and my own favorite photograph. The aviation scenes in Misc 20 include the balance of my suites of rare images of SpaceShipOne and its integral mother-ship, White Knight, during their stop at Oshkosh, on their only public flight, en route to being permanently enshrined in the National Air and Space Museum, and of GlobalFlyer, after returning from Steve Fossett’s solo nonstop flight around the world. Included are engaging and now-poignant portraits of the charming and extraordinarily accomplished pioneer adventurer, Fossett, who died in the crash of the plane he was flying on September 3rd, 2007, while scouting locations for his next exploit — an assault on the land speed record (760 mph) in a car of his own design. Also present are portraits of the pilots and crews of the three landmark airplanes, as well as of their designers, financiers and assorted coterie, including Richard Branson, Burt Rutan, Paul Allen and Harrison Ford. The widely disparate individual images run the proverbial gamut from Kabuki figures and Navajo rugs, to perfume bottles, goldfish, pedicabs, millinery, teapots, fireworks, exquisite Hopi jewelry, sailing ships, a heavily armed guard on Wall Street, parasols, gladiators, fine china and enamelware, antique birdcages, spectacular aerobatics, the site where George Washington took the Oath of Office as the first President of the United States, glass flowers, Delmonico’s restaurant, stilt-walkers, a statue of Confucius, historic gravestones, kaleidoscopes, the Waldorf Astoria and even a 3-D image of Spiderman.     

    Although books usually make the best gifts, art also ranks among the most meaningful, appreciated and longest-lasting of alternatives. Some of the images in the gallery are presented for display, only, and are not offered for sale. Among the remaining majority, some are being offered in limited editions, and all of them are available as signed prints. They can also be ordered and provided as giclées. Some of the larger suites of images, such as more than a hundred engaging scenes of the lighthouse at Big Sur, are being prepared to be published as books. Other volumes will be devoted solely to portals, Burning Man, Antelope Canyon and ornate ceilings, as well as one on kivas, with their symbolic sipapus.

     The images are divided, by subject-matter, among 156 different individual galleries and sub-galleries. Since the inclusion of an image in a particular gallery is often an arbitrary choice, due to its subject fitting two or more categories, you will undoubtedly find intriguing images in unexpected places. Thus, I encourage you to peruse galleries which wouldn’t predictably seem to be of personal interest to you. I can’t overemphasize how beneficial it will be to widely explore the entire site. Some of the images have been replicated in several places, due to their multi-faceted nature. While every gallery will soon contain anywhere from a dozen to several hundred images, some of the galleries, at this point, are very sparsely populated, with only a very few pictures in them. Three of the most fully evolved ones, so far, are devoted to Ornate Ceilings and Decorative Lamps, Sculpture and Burning Man. Meanwhile, many of the pictures that will ultimately be placed in their designated galleries can presently be viewed in the ten miscellaneous groups, which now contain more than 1,000 images. Many hundreds more — including much of my best work — will eventually be added to the gallery from existing archives; notably, entire suites of scenes from New York City, Las Vegas, the cultural treasure of Santa Fe, Paolo Soleri’s intriguing experimental community of Arcosanti, land speed record trials at Bonneville Salt Flats, Salvation Mountain, the enigmatic cliff-dwellings and rock-carvings at Mesa Verde and Canyon de Chelly, Georgia O’Keeffe’s home in Abiquiu, the Hot August Nights event, Frank Lloyd Wright’s seminal Taliesin West, Ghost Ranch and the Reno Air Races, as well as a monumental presentation of photographs of the Big Sur lighthouse, a comprehensive pictorial documentation of the construction and ceremonial dedication of a Navajo sweat lodge and a major collection of striking images from ethereal Antelope Canyon, including the lower canyon, where the general public is rarely admitted, since tourists died there in a flash-flood. Indeed, as the saying goes, much of the best is yet to come!

     As the site continues to evolve, the most heavily populated galleries will naturally tend to be a representative reflection of many of my own personal interests and passions. The present intent is for the gallery to eventually be arbitrarily limited to a total of 500 images. Beyond that point, as new pictures are added and displayed, they will replace ones which have represented only modest sales; thus providing a “self-cleaning” effect, by continually upgrading the quality and appeal of the total exhibition. This evolution of perpetually “improving the breed”, in general, is somewhat analogous to Spencer’s concept of “survival of the fittest”, or even Darwin’s theory of Natural Selection, if you have a fertile imagination. I invite you to contribute to the distillation process, by identifying any images that you think,  for whatever reason, don’t merit being included in the gallery. The more "rejects" you suggest, the better! 

     There will always be literally thousands more images stored in the archives than are ever featured in the gallery, including many which depict subjects that aren’t even currently displayed. In countless cases, there are several different compositions available of a scene or general subject, in addition to the ones included on the site. Please inquire about any specialized interests you have, or specific pictures you may want. It’s very likely that an ideally appropriate image already exists in the present archives.

    All of my photographs are flawed, for one or more of a variety of reasons. Every one of the images could be improved. I typically photograph many subjects in a short period of time. Often, I’m working with ephemeral situations and quickly disappearing opportunities, requiring extremely quick choices of subjects and rapid composition. The presence of often challenging conditions reminds me of Jimmy Durante’s reply to a woman who complained about the quality of his piano-playing. He said, “Lady, dem’s da conditions dat prevail!” As for my own work, some of it you may like and much of it may not appeal to you. At any rate, “res ipsa loquitur” — it speaks for itself; which accounts for the intentional lack of pointless “bells and whistles” in the straightforward design of this website.

     Once I identify a photographic opportunity, I quickly make the most of it, under the existing conditions, and then move on — constantly observant of my surroundings and the countless opportunities to select subjects for artistic interpretation. With the exception of a few situations which have provided me with both the time and the inspiration to fully exploit a complex or intriguing challenge, most of my photographs have been hastily made — although not without considerable deliberation and analysis in the process, which has become substantially instinctual. Thus, as Picasso said of his own work, they can’t all be masterpieces. Nevertheless, I do delight in the reward and satisfaction of occasionally creating my own “Guernica”. On those rare and especially memorable occasions when I make such a photograph, I usually exclaim to myself, “Just shoot me!” — acknowledging a sense of validation sufficient to justify being at least temporarily satisfied, at that moment, with the scope and quality of my entire body-of-work; and not feeling compelled to enrich it any further. Predictably, though, my passion and quest for artistic self-expression never seems to subside.

     Picasso also said, “Painting is simply another way of keeping a diary.” Similarly, this gallery could be accurately perceived as a visual log of some of the things that have caught my attention and interested me enough to preserve them in a deliberately artistic fashion. Of course, all photographs are initially, fundamentally and necessarily documentary in nature — irrespective of the degree to which they may also be artistic in some way. My intention, at this point, is to begin concentrating on more purely artistic images and to devote less effort to creating primarily documentary ones; although the aforementioned reality will inevitably present a paradoxical challenge. Of course, the age-old philosophical question, renewed by Tolstoy in 1896, will always continue to be debated: “What is art?”.  D.H. Lawrence added interesting observations on the concept in his 1923 essay. Published in that same year was Robert Henri’s classic book, The Art Spirit, which begins, “When the artist is alive in any person, he becomes an inventive, searching, daring, self-expressing creature. He disturbs, upsets, enlightens and opens ways for a better understanding.” The inimitable Georgia O'Keeffe said, “To create one's world in any of the arts takes courage.” An important book on Ayn Rand’s theory of art, published in the year 2000, is a more recent contribution to the dialogue. Incidentally, I’ve always been amused by the galleries that obliviously embarrass themselves by conspicuously and presumptuously promoting their wares as “fine” art — awkwardly and preposterously attempting to make a distinction between the alleged desirability of what they’re selling, and much of what is offered elsewhere. 

     The images offered here span a broad range of impressions, from the magical, seductive, inspiring, enigmatic, poignant, charming, subdued, somber, elegant, nostalgic and sublime, to joie-de-vivre, the frivolous, ironic, whimsical, visceral and absurd, and even include portrayals of outrageously bizarre atrocities and abominations. The latter category is obviously all-but-impossible to present artistically. One of my personal mottoes, for many years, about our society in general, by the way, has been, “If you’re not outraged, you’re not paying attention!

     My images are cautiously constructed as purposeful combinations of many interrelated elements, including textures, shadows, reflections and, of course, the light, itself — often employing abstractions, incongruities, anachronisms and subliminal or overt symbolism, sometimes in combination with one another. A major and vital component, necessarily, is always the light. John Alton referred to photography as “painting with light”. My work emphasizes that the light is actually part of the subjectnot just something to be used merely to illuminate the subject. Many of my photographs intentionally and specifically employ light as a prominent, or even the primary, feature of the composition, itself. Several of my images of portals at Indian architectural ruins, for example, prominently do. Other examples are found in my images of the incomparable Cloisters in New York City. Dappled light is one of the more specialized hallmarks of my work. A variety of the images in the gallery also present what I call “the poetry of repetitive form”, while others are rich in connotative expression. Some of them have an almost indistinguishable feature added as a subtle embellissement, to further enhance the desired impression.

     Whenever I make a photograph, my fundamental objective is to share my personal artistic vision and aesthetic sensibilities, in conveying the impression I had of an object’s intrinsic but often overlooked or otherwise unremarkable beauty, or of a person’s intriguing individuality, within the context I encountered it. Beyond that, the omnipresent quest is to create an impeccably rendered image of astonishing beauty — ideally, also imbued with a certain  je ne sais quoi or other enigmatic quality of some kind. Just as is everything in life, that process is always pursued with varying and unpredictable degrees of success. Although I’m not preoccupied with being a purist, my images are intentionally and conspicuously lacking the artifice of contrived and highly stylized choreography. Rarely do I choreograph any aspect of the scenes I photograph. This is another factor contributing to the inherent “flaws”. Conversely, and ironically, the imperfections sometimes become an integral and desirable element of the presentation — much in the same way that the Japanese philosophy of wabi-sabi celebrates beauty in the imperfection of things that are flawed or worn. For example, I work with and photograph real women, in the real world — not models, who are unrealistically enhanced by makeup artists; so the women in my photographs are not blemish-free or flawless in any other respect, and the real-world imperfections become part of the images. In other cases, I have even intentionally included “defects” to support my aesthetic purpose or to punctuate an underlying theme. You’ll notice, by the way, that there aren’t any pictures in the gallery of seemingly vacuous women in contrived poses, with ridiculous, unnatural expressions on their faces, which have always been so common among the stereotypical images that are somehow considered to be sexy, by adolescents of all ages, from thirteen to seventy-plus. 

     Ironically, and regrettably, some of my potentially best photographs were ones I wasn’t able to make, due the unique scene or situation vanishing before I could preserve it. I always remember “the ones that got away” and were not retrievable. I also painfully recall carelessly, inadvertently deleting one of my all-time favorite images just after uncharacteristically spending more than an hour arduously creating it!

     Although people are generally the most interesting subject, the truly classic and memorable images of people have typically required an extraordinarily rare combination of good luck and fortuitous timing. Patience, alone, is almost never enough. It’s mainly a matter of being in the right place at the right time. I’ve never been fortunate enough to have the opportunity to make such a photograph. A prime example is Nick Ut’s iconic, Pulitzer Prize-winning 1972 photograph — an incredibly haunting and eternal image of a Vietnamese girl fleeing from the scene of an attack where her clothes were burned off by napalm. Due to the nature of the way I work, the majority of my images of people is of women — made in situations that afford some stability of the scene, definition of the objective and predictability of the result. Even most of these sessions, though, are not conducted in the controlled conditions of studio environments.

     I don’t use a tripod and nearly always work with the available natural light. Hand-held exposures as long as an eighth-of-a-second in low-light conditions occasionally record some camera-motion, however slight, which sometimes manifests itself in extremely large prints. Obviously, every image could have been created in better technical quality with the use of more time, ideal light, a tripod and a different camera. Of course, aside from purely technical considerations, or even despite them, many truly great photographs have been made even with box cameras. Additionally, even with the best of conditions and equipment, nearly everything in photography is a compromise — just as nearly everything in life is also a compromise. In fact, many of my favorite photographs involved major compromises. What you see in my photographs is what I saw through the lens when I composed the image, since all of my work is presented in its original form, without being digitally enhanced with computer software. I’ve always thought of my work as organic photography — with no artificial additives. “The agony and the ecstasy” is the way Irving Stone might have described my painstakingly precise and meticulous approach to composition of the elements — frequently adding a small embellishment of some kind. My approach is so unconventional, and my method is so intense, that people frequently photograph me while I’m working. The biggest challenge with composition — as is the case with life, in general — is deciding what to put in and what to leave out. Every picture begins as a tabula rasa, and becomes a deliberate manifestation of infinitely variable elements. Although not one of my photos is a “snapshot”, many of the photographs were made spontaneously — sometimes almost instantaneously. While my compositions are usually bold and taut, in order to strongly emphasize the subject, my photographs are not generally described as being vivid, since they’re made solely with soft, natural light, without the use of any manipulative filters and also have not been artificially altered in any way, in order to dramatically improve them. I frequently encounter, and am impressed by the impact of, those “photos on steroids”, with their exaggerated contrast and color-saturation, which have become so prevalent in our culture. Many of them are very dramatic; and I may eventually begin producing some of them, probably concentrating on limited subject-matter for that particular genre. I’ll probably also delve into the realm of macro-photography, which lends itself so well to abstractions and impressionism. 

     My primary concern is with subject-matter, which has transcended, and sometimes necessarily precluded, a former goal of seeking technical perfection. Photographing iconic objects, and presenting them in an unusual and intriguing way, always presents a major challenge, since they’ve already been seen and photographed by literally millions of people. Examples of such icons are the Gateway Arch in St. Louis and the Brooklyn Bridge, Chrysler Building and Guggenheim Museum in New York. Two of my images of the Arch are obviously flawed, technically; but I think their content merits presentation. In portraying communities or natural locations, I strive to capture espiritu loci — the spirit of the place — in my images. This aspect of my work has been especially challenging and rewarding during the times that I go to live with the Indians, periodically; and, particularly, with my attempt to adequately portray their heartbreaking villages and the ruins and sacred archaeological sites of the homes of their ancestors — the Anasazi people, now indomitably surviving as the amazing and justifiably proud Hopi. And, no, the Indians don’t call themselves “native Americans”. Having the ultimate privilege of being in the reverential presence of the most gentle, peaceful, humble, spiritual, honorable and admirable people on Earth — the irrepressible Hopi — is a very humbling and almost indescribably inspiring experience. I’m usually satisfied that I’ve presented the essence of an object, scene or situation in my photograph of it. Of course, the best that one can ever hope for is to successfully capture only a hint of the essence of a person in any visual form. Speaking of people, while some of my photographs may appear to be voyeuristic intrusions, everyone being photographed was aware of it.

     I’ve often had the good fortune, either due to prior arrangements or wonderfully serendipitous circumstances, to be in situations which provided me with enormously beneficial opportunities to make exemplary behind-the-scenes photographs of historic, once-in-a-lifetime events, which were not accessible to others. A good example of such was my documentation of many aspects of the renovation of the legendary Plaza Hotel in New York City.

     I may have been the last person in the known world to embrace the digital medium in photography. Although I bought my first Hasselblad at age eighteen, nearly all of the photographs in this gallery were made with a much less expensive camera, and during only the last thirteen years. One of the exceptions, in both of those circumstances, is the suite of my photographs of the historic and very romantic Point Sur lighthouse, at Big Sur.

     While “every picture tells a story”, many of my images are carefully crafted to tell at least two stories, even if only by the incongruities they are composed to include; and some of them contain several strategic elements — sometimes nearly hidden — that complete the composition and “story”. Occasionally, the additional “stories” are told in reflections and shadows. One composition includes a series of four successive reflections within reflections. Another comprises three different self-portraits of the artist at work, reflected in the subject of the image. Obscure self-portraits appear in several of the images. I think you’ll benefit from closely and carefully studying the many nuances and subtleties in my work, which would easily be overlooked by the casual observer. As the architect Mies van der Rohe said, “God is in the details!” In doing so, you’ll naturally begin to recognize unmistakable elements of my style. Some of my images even embody one or more of my stylistic signature-devices multiple times.

     All of the “thumbnail” images should be enlarged for best viewing by clicking on them. This is especially true of the night scenes. Nevertheless, their resolution and inherent quality has had to be substantially reduced from the originals for practical use on this site; and the compressed versions clearly don’t do justice to the potential they offer. With the exception of a few of the images, they are all suitable for becoming large prints; and the Hasselblad transparencies, including those of the Point Sur lighthouse, have already proved to produce dazzling mural-size prints.

     I invite you to use the links on this site to visit the interesting websites of friends and colleagues, as well as the links to ten of my other websites, for my seminars and individual mentoring, my oceanfront home in Big Sur for sale, and for my personal library, which is available for donation. Although you may encounter some anomalies on the site, the problems are being eliminated as they are discovered; and I humbly encourage you to offer any suggestions of how you think the gallery could be improved.

     All of the images on this site, as well as this Introduction, are copyrighted, protected by law and cannot be printed or reproduced, in whole or in part, in any way. All rights are reserved. The images cannot be legally copied to another computer or printed, and their use is limited to viewing only on this website. Reproduction, storage or transmittal of the images, by any means, is prohibited without express prior written permission. Prints purchased from this gallery may not be reproduced or scanned, for any reason, and may only be used for display for personal enjoyment. If you want to publish or reproduce any of the images in any physical or digital form, or use them for any commercial purpose, including display or web-page use, licensing for such use is available; but you must obtain prior written permission from the photographer and pay for the privilege in advance. By entering the Gallery, you acknowledge and agree to all of the foregoing terms and restrictions.

     I do accept commissions, under sufficiently inspiring circumstances, to produce artful photographic celebration of, and distinctive written and visual testimony for, especially intriguing, challenging or otherwise worthy projects.

It’s a genuine pleasure to share my work with you.

Thank you again for your interest.

David Cormany

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